堀内マキコ

SHIKISAISHA is pleased to present “Spring and an Egg,” a solo exhibition by Makiko Horiuchi. Horiuchi’s practice draws on the concept of marebito in Japanese folklore—visiting deities or outsiders—while also engaging with its contemporary extensions in subcultures such as tokusatsu and anime. Centered on the theme of “encounters with the unfamiliar,” her work explores the subtle sense of dissonance that arises both within oneself and in relation to others in an increasingly complex society. Through her distinctive sculptural forms—where cuteness and eeriness coexist—she gives shape to these ambiguous and often unspoken sensations. The exhibition title, Spring and an Egg, reflects a quiet yet attentive gaze toward fragile, precious forms of life that nevertheless hold a resilient vitality. The works evoke a moment of anticipation: a miracle that has gently descended, carefully nurtured over time, now on the verge of emerging into new life with the arrival of spring. In addition to her primary material, Jesmonite, Horiuchi introduces new materials and expressions in this exhibition, including lace and crystalline forms. Suggesting a future of complex growth while capturing the purity of the present moment, the new body of work invites viewers into a space of delicate transformation. Artist Statement What I seek to express is an “encounter with the unfamiliar.” What, then, is the unfamiliar? Since the 2010s, as the internet and social media have become integral to our daily lives, we have gained the ability to easily share and receive individual experiences and values. While this has supported the diversification of society, it has also blurred the notion of what is considered “normal.” We now live in a time of quiet tension—one in which, without awareness of our own biases, we may unknowingly harm others. When a child encounters beings or values different from their own, they may initially react with discomfort or curiosity. Through experience, however, they gradually come to accept these differences. In this sense, every encounter is, at its core, an encounter with the unfamiliar. To perceive something as unfamiliar is to become aware of one’s own assumptions and cultural framework. At the same time, it reminds us that we ourselves may be unfamiliar to others. The unfamiliar exists closer than we think—it may even reside within us. As we encounter one another as “others,” our fixed ideas are unsettled, and we are continuously reshaped. I continue to create forms in order to hold onto the tension of these moments of becoming, and the possibilities for new relationships that emerge from them. Makiko Horiuchi